Con(front)a(c)tion SQUARE OF SILENCE Venice biennale entrance
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VENICE BIENNALE · the entrance · CON(FRONT)A(C)TION
keywords
silence, square, entropy, entrance
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Abstract A field of silence appears when a huge amount of energy collides. Taking into consideration plenty of information on the Venetian biennale, such a place is more than needed as a point of balance. Due to the flourish of the biennale popularity, the city endurance is being questioned. Even though it can be a personal feeling, when taking some phenomena analysis, the over popularity of the biennale creates an entropy or in one word -chaos. This thesis is focused on the main entrance as a starting point and a gateway as the place of the largest influx of energy. New approach and central pavilion are to be connected through a silence square by which system of movement through biennale is changed as well as the way biennale lives.
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“Solitude and silence are prime prerequisites for anything to be created.” -Meša Selimović-
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CONTENT
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INTRODUCTION
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PHENOMENON SUMMARY
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PHENOMENON APPREHENSION
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PHENOMENON 1
overabundance examples from the past examples from the future
PHENOMENON 2
development of venetian manifesto
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postulates ·
ENTROPY
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CONCEPT SUMMARY
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ANALYSIS OF ENTROPY AND NEGENTROPY POINTS the outline where overabundance is the most dominant
St. Mark’s square Park Giardini
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NEW CITY
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SQUARE AS A POINT OF NEGENTROPY
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FIELD OF SILENCE
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CHANGING THE PURPOSE OF ENTRANCE
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SQUARE OF SILENCE AS A POINT OF NEGENTROPY
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SILENCE
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zero point energy
visual silence - white sound silence - material
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INFORMATION FILTER
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THE SILENCE OF THE MIND
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BIBLIOGRAPHY
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FILMOGRAPHY
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31-43
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INTRODUCTION
The problem of biennale can be viewed from many angles. Biennale itself is mainly based on visitors’ personal view. It is undeniable that its past influences its present. The location of park Giardini itself, as a starting point of biennale, has a great location. Although the primary function of it was to exhibit the art of Italian citizens, recently it has become more than that. It seems like a small separate world. Biennale as a system, got extended regarding its space, parks and even pavilions all around Venice. The thing got out of control by massive construction of pavilions for a rising number of states. Giardini is located in the chaotic region – entropy rules it. Thus, harmony should be found. It is of utmost importance to study the endurance of the city while building new pavilions. Change must happen. Considering the number of information that is present in biennale, the silent place should be found, i.e. the field that will be a source of negentropy. That field should be located in the place where a huge amount of energy collides.
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VENICE BIENNALE · the entrance · CON(FRONT)A(C)TION
PHENOMENON SUMMARY
Phenomenon summary Phenomenon apprehension
Phenomenon 1
Phenomenon 2
overabundance
development of venetian manifesto
city endurance
postulates endurance
examples from the past examples from the future
topic Solitude
Result Entropy
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PHENOMENON APPREHENSION
Venice was born as a strong, symbolic city. The glory of its history presents a strong authority. By making festivals, carnivals as well as by constructing, Venice has become strong and well known for its culture. It has become a city of memories. Also, the undeniable quality of biennale is better year by year. Pavilions, promenades and the city itself have become the center of art. The complexity of the festival makes the city recognizable. Venice is a national heritage site. However, apart from biennale’s advantages and well known quality, there is also one disadvantage- the quantity. Too much of everything. Giardini, as a primary place for Venetian biennale, has reached its maximum. Because of that, it got its extension- Arsenale. The popularity of the festival caused that Arsenale as well has reached its maximum, so the pavilions have been spread all over the city. Taking into account the above mentioned situations, the endurance of the city is questioned. Can Venice bear additional extensions for new state’s pavilions? Historically, Giardini park was created to be a place for exhibition of Italian artists. A bit later, another international artists were included in the program, biennale expanded and another states got their places. Chronologically, it seems that the whole process of popularity got out of control. The competitive spirit between the participating states seems to be overabundant. This situation is criticized very often. Observing Venice as a set of information, we can notice a huge amount of overabundant places. Moreover, natural disaster like frequent floods can be related to already mentioned metaphysical problem of overabundance and burden. During the festival season, there are a lot of information that its future quality is being questioned, including the question about its physical existence. Overabundance phenomenon has been diagnosed and thus the question of city endurance has been open as well. The complexity of biennale can be seen through analysis of topics posted by curators in museums. Topics of Venetian biennale are mainly about solving the problem of society and the system. Critically, these topics are very useful. However, overabundance arises because of desire for more accurate information and solutions. The development manifesto of Venetian biennale corresponds to overabundance phenomenon. All this considered, there are two types of phenomena that we will consider: overabundance phenomenon and manifesto changing phenomenon.
“And cities, just like people are submitted to psychological analysis and all these decorations and superficial beings loaded on ancient buildings present a good material for research of collective awareness and collective subconsciousness. Let today’s architects not be deceived. And their architecture without any ornaments will, sooner or later, catch out its hidden psychological ornaments, subjected to analysis and psychoanalysis, what I would, if I were them, take it as a compliment rather than reprimand.” 1
Bogdanovic, Bogdan(9. august 2004.), “Pionirov glasnik Nauka, Grad i budućnost (City and the future).”, http://www. pionirovglasnik. com/print.php?content=181 1
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PHENOMENON 1
overabundance
EXAMPLES FROM THE PAST
In order to plan, we need to know what happened in the past and feel what future may require. This has nothing to do with prophecy but with the requirements for a universal view of the world. “Ideas about what is “normal”, what is big, or even what is too big city, throughout history, have not been drastically changed. Socrates cursed Kleon’s Athens as the city which reached its full size, and due to its growth and developing, it actually began to decompose and rot away ... that idea, without any doubt, is extremely modern! Athens at that time, with its 130 to 150 thousand inhabitants, for many Greeks represented the town on the upper limit of tolerable size, which, if continued to grow, could have jeopardized the functioning of the whole polis (city) system. On the other hand, huge Babylon seemed quite monstrous phenomenon. Aristotle said that Babylon is not the city (polis) but more like nation (ethnos), “walled nation”, however, according to today’s estimates, that metropolis could have the population between 300 and 700 thousand inhabitants. Bogdanovic, Bogdan, “Tri ratne knjige”, (Three war books) Grad i smrt,(City and death) Novi Sad 2008, page 31 2
In some ways, things have been quite clear since the ancient times. For Greeks, the size of the city was meaningful if it was really possible for man to have unobstructed communication with the environment. This principle is very precisely described in Aristotle’s famous metaphor that city should be big enough for human voice to be heard throughout.’’ 2 Through Bogdanović’s article published in the book “City and Death”, city in general is analyzed as well as every city especially as a complex metaphorical system, which is threatened by the destruction of overabundance and a large number of extensions in physical and metaphysical sense. He raises the question of endurance and survival of cities, having in mind the familiar history. By testing the endurance of this phenomenon through the experience of the past cities such as Athens, Babylon, or the idea of utopian cities of the future, we can talk about the issues of modern cities. Venice, especially during the Venetian biennale, becomes overabundant with large number of information. Apart from occasional praise of the festival, visitors begin to share negative comments: too many sites and works, too many long queues to see specific works, too many video works, which also take time and concentration …too much of everything. One gets the impression that the dimensions and proportions of the event has exceeded the physical and perceptual capacities of observers. There is a pressure to force a solution for pavilions that have yet to be built by the states that did not have their place in the previous pavilions.
Can biennale make additional space for the countries that have yet to build their pavilions?
Bogdanovic, Bogdan, “Tri ratne knjige”, (Three war books) Grad i smrt,(City and death) Novi Sad 2008, page 33 3
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“The skill of “readings cities” is what we all need; first of all, because we are closer to a common future skills-understanding the cities. It has always been a great masterpiece and human right. That masterpiece has been forgotten and human right has been lost. If possible, it should be regained.” 3
SQUARE OF SILENCE · giardini
Several years ago, Achille Bonito Oliva began to analyze the phenomenon of super art. 4 He talks about increasingly common appearance of art festivals which have to be spectacular , branded , megalomaniacal in order to draw the attention of the media and mass audiences and thereby at least partly cover their astronomical budgets. Is it possible that the phenomenon of the art of spectacle or spectacle of arts has come to the limit, almost to paradox? Does biennale take on a new spirit? Although the problem of overabundance in Venice is barely discernible, and still limited to personal experience, it exists, and topics related to this issue are increasingly present among citizens, visitors, the competent authorities, professionals. Venice biennale, although one of the world’s dominant cultural events, is slowly entering an era in which excessive decomposition of the urban content may lead to ubiquitous confusion.
PHENOMENON 1
overabundance
More about phenomenon of Super art: Achille Bonito Oliva, Dulio Karlo Argan, “MODERNA UMETNOST 1770-19702000 II” 4
EXAMPLES FROM THE FUTURE
The future of Venice can be viewed through the utopian comparison. Utopias are always welcome, and they represent a stimulus for improving urban structures and city authority. Fantasy dreams can lead us to the real problem and its potential solution. Answers can occur through social engagement, rituals, architecture, graphics, records ... Imagine a sculptor make a shape from the inertia of matter. In a similar way, an architect creates a unique, live time of the indifference of time that flows around us, guided by the idea of his future artwork. Mark Whalen is an artist who tries to present seemingly universal situations and problems of one society and the city as the satirical graphics of social narratives and city structures . 5 In his works we can see the agony of unclear actions, architectural anomaly, geometry, things presented through kaleidoscope, impeccably assembled. His use of seductive banality and coarseness of all creates thrill. Whalen presents a society and humanity as the basis of the city. His utopian places are full of events but are concentrated only on one information- influence in society and their contribution. Information is beautiful and mysterious, erotic and repressive, lively and withdrawn. It gives an incentive for better future, and awareness that the city depends on our thoughts, our ideas and our participation in it. Does Venetian biennale deserve utopian thinking about it and can it, along with the current social and utopian topics of manifest, surpass its level and turn its topics to something more than that?
More about Mark Whalen work: http://www. markwhalenart. com/CURRENT-1 5
Dostojevski Fjodor, http://www. tvorac-grada. com/knjige/mislivelikana/ dostojevski. html 6
“Fantasy is a natural force in man, and if it does not comply, it will either disappear or vice versa – its flare will be excessive and it is harmful. ” 6
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PHENOMENON 2
development of venetian manifesto
POSTULATES
What stands out as a special phenomenon of Venetian biennale, is the development of manifesto. Year by year manifesto has changed, and also offered a chance to respond to the eternal architectural and human questions: who am I, what am I, where am I, and why? This is a great way to raise awareness for something unique and spiritual. To talk about it, one should be primarily familiar with current issues and analyze them. On the next page, there are some topics from last years’ biennale in Venice. From then on, topics of the biennial followed a developmental line. In the beginning, its postulates were linked to Art: Art as Art, Art in the mirror , Art and Science , City artist, Cardinal point of art. Moving into the 21st century, the social agenda begins to dominate. Plato of humanity as a postulate presents a major milestone of the development of manifesto. Biennale is accessed in a complex way and with its subject matter it reaches a higher level. The former curator Zeman explains Plato humanity not as a given topic, but as a kind of dimension of responsibility concerning history and current events. Art facilities, feelings and narratives on the plateau are intertwined and reflect different fields and issues of interest. Plato is as a place of convergence of different topics, point from which we observe the world, as well as the point from where the world is being watched. It is therefore checkpoint, base and stage, where the artists’ work and the audience are in constant contact and interaction. Biennale is trying to maintain awareness of the human presence in architecture and art. Although the topics listed seem to be universally connected, from a great desire for better representation, but also a great experience from the past and the future, states create boundless network of information. Architecture should be considered and studied as an organism. In architecture, we all seek symptoms about to what degree is our time able to become conscious, about its limitations and possibilities, its needs and intentions. Architecture can give us insight into the process, since it is closely connected with the whole life of a certain period. Looking at the architecture of the manifesto there is an essential aspect that confirms the characteristics of the period, environment and architecture with which we live and where we work. Instead of traditional understanding of architecture we get an individual who is amazed with technique opportunities and that individual intends to overcome stereotypes and borders and set free from the dictatorship of the public that stifle any hint of individuality. With silence, both passion and original source of meaning are obtained.
More about No stop city : Archizoom, http://architizer. com/blog/ archizoom-retrospective/ 7
Venice becomes No stop city. 7 It is ironical critique of the ideology of architectural modernism taking its borders as an example. The question is: Is Venice enough spacious for something like that? What would have happened if, from this moment, we start to respond to postulates in an opposite direction?
What would have happened with space and pavilions if the topic had been Solitude?!
Bogdanovic, Bogdan, “Tri ratne knjige”, (Three war books) Grad i smrt,(City and death) Novi Sad 2008, page 118 8
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“Many modern cities around the world, despite the unbearable flood of visual information, certainly suffer from some chronic “shortage of symbols,” and are ultimately deprived of the deeper, hidden communication. And that is exactly what is valuable about cities; they can be read, understood and interpreted. Stylish architecture, for example, has been offering a wide scale of self-report, for its content, and in its own way, for a variety of different cities. “ 8
SQUARE OF SILENCE · giardini
1980__The Presence of the Past 1982__Art as Art 1984__ Art in the Mirror 1985__Drawings 1986__Art and Science 1988__The Place of the Artist 1993__Cardinal Points of the Arts 1995__Identity and Alterity 1996__Sensors of the future 1997__Future, Present, and Past 1999__dAPERTutto 2000__Less Aesthetics, More Ethics 2001__Plateau of Humankind 2002__Plateau of Humankind 2003__Dreams and Conflicts 2004__Metamorph 2005__The Experience of Art 2006__City. Architecture and Society 2007__Think with the Senses 2008__Out There 2009__Making Worlds 2010__People meet in architecture 2011__ILLUMInations 2012__Common ground 2013__Il Palazzo Enciclopedico 2014__Fundamentals 2015__All the World’s Futures 2016__Reporting from the Front
List 1. Venice biennale topics from 1982-2016 9
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ENTROPY
Now that we are introduced with the problem of overabundance, another question remains- the question of rivalry between Venice as a symbol city and Venice as an obvious case of increasing entropy. In order to talk about it, the term entropy should be further explained. “Each system, which is organized, is influenced by entropy- the general tendency toward disorganization. Disorganization inevitably leads to the death and decomposition of the system. Because of entropy no system is eternal, but it is constantly striving to chaos. The dynamics of human existence is reflected in the constant effort of entropy to increase the mess, a concentrated energy, matter and information to suppress that mess or at least reduce the speed of its spreading. Human activity, labor and human creativity are manifested in the effort to:
10 Entropy: http://webcache. googleusercontent.com/ search?q=cache:uOc4boTl7pcJ:bojanakrstic. weebly.com/up-
to identify of the parts of the structure in nature that can be used as sources of negentropy to find or create an organization that will allow to be realized a certain process to satisfy certain human needs, to do some work. The man contributes both to the creation of order and of disorder. Can one overcome the tendency toward degradation if one managed to master all aspects of necessary knowledge? Does chaos create order? Are the created order and organization eternal? Harmony and balance. In order to maintain order as long as possible despite the functioning of the entropy, the system must use negentropy, or negative entropy. Negentropy is a tendency that needs to slow down or reduce the operation of the entropy. Operation of entropy and negentropy are a prerequisite for the functioning of the system. ” 10 Our time is a passing time. The contrast and mutual intimidation of various tendencies that extend past or indicate future, cause the impression that our time does not have a clear developmental line. It seems like chaos of many mutually contradictory impulses. Using entropy as a unit of measure of chaos, potential places of overabundance can be marked. Because of the existing points of entropy in some places of Venetian Biennale, and because of system balance, points of negentropy should be determined. The main function of negentropy should be balance, moderation and simplicity, by which the city becomes system of gestures. Reusing the function of space from chaos to non-chaos, will not disturb historical significance of the site, as well as its past experience. This ambiguity will receive charming strength of the location. Assuming that countries that do not have their own pavilions want to build their own, the question about endurance of pavilion concept arises. The magical power of the biennial is inevitable and historically very significant, and therefore its zone of chaos must be neutralized. Discovering points of entropy, we enter at the heart of the problem. If we take as a premise that Giardini is the city for itself, we can make a parallel between the two systems-Venice as a city and Giardini as a city. This will help us to more accurately locate the point of entropy and negentropy. Comparison is possible given the amount of entropy that is present and overabundance of visual information. Of course, the proportions are different. They correspond to the system. Based on the above-mentioned, if the city is seen as a system, its moments of entropy and negentropy can be seen as quite logical points , acting positively and negatively, and they actually create balance of power among the present energies.
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CONCEPT SUMMARY
Entropy Analysis of entropy and negentropy points the outline where overabundance is the most dominant
St. Mark’s square
Park Giardini
point of negentropy
point of entropy
Venice as a city(entropy) square(negentropija)
Giardini as a city(entropy) square(negentropija)
Square Square - field Field of silence Square of silence
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ANALYSIS OF ENTROPY AND NEGENTROPY POINTS
The move of overabundance was initiated by entropy. It appears in the form of sociological, technological and spiritual artifact. Chaos zone in the overabundant area of Venice, is distributed by segments at multiple points. How can we describe the self-awareness of biennale in an eternal influx of different memories? How can we create harmony and balance and present the personality of the biennale in its most basic function? The settings, as a separate, independent and cultural form, must be reasonably and naturally interpreted. It must balance the influx of human activity. The place with the highest number of entropy points generates the biggest overabundance. It is a place filled with various combinations of disparate impressions - the brand, tradition, culture, lack of culture. Of course, in addition to the personal feeling, that place can be analyzed through the setting of city planning . Points of the most popular points. Orientation and movement of people. Visual identity. Figure 1 shows the analysis of one part of Venice that is overabundant with plenty of information.12 Figure 2 presents the place of most dominant overabundance on the basis of the aforementioned research .13 Visual and empirical experience confirm the analysis. It is undoubtedly a move that commences in the St.Mark’s square and ends in the park Giardini. By zooming this part of the city, we can discover that both of these parts of the city have identity and their specific role - planned and unplanned. Any resulting thing or occurrence in the world we can use in a positive or negative way. Improper decoration leads to the beginning of time in which we need a critical examination of all values. The outcome is the relativization of space and time, the entropy and negentropy, restlessness and peace.
fig. 1. information loaded part of Venice: main roads, main + secondary roads, buildings
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analiza tacaka entropije i negentropije
preopterecenost grada potez najdominantnijeg opterecenja
polje tizine
potez najdominantnijeg opterecenja
polje tisine
fig. 2: information loaded part of Venice 13
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THE OUTLINE WHERE OVERABUNDANCE IS THE MOST DOMINANT
By zooming in the most popular outline, it can be concluded that it was actually formed by merging two historical points. Although the period of the St. Mark’s Square is different from the period when Giardini was created, their historical value is strong and characteristic. It is the other side of town. It is expected and that they have outlines of overabundance as well. Their authority represents the authority of Venice. Figure 3 shows the framed ouline of entropy of the city system.14 Below, the author analyzes the two parts of the system - the beginning and the end.
trg svetog marka djardini
14 fig. 3: zone from St. Mark’s Square to the venetian Giardini.
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ST. MARK’S SQUARE
The historical purpose of development of St. Mark’s Square is interesting.15 Originally,it was considered to be a park, just like Giardini today. Many successive expansions and planned repurposing led to the current design. What remains the same is its position, which is interpreted as the center of the city. Bell tower is set as a major landmark and informational structure. This is the only plateau in Venice, which got the title of square (piazza), due to its size and the proportions. Other smaller squares, are called fields (campi). Framing St. Mark’s Square and analyzing its original features, its initially planned idea- plateau without information is revealed. Considering the number of information points which each city contains, we can talk about the square as a consciously positive part of the city. Its influence in the city is undeniable. Its horizontal line collects and balance information. Fundamentally speaking, the surface of the St. Mark’s Square has a significant expression. Its size and identity have an impact on the city. And the square is a part of something. If we zoom out the location, and look at the square as a part of the entire city of Venice, we can conclude, due to its proportions and its free authority, that it presents the point of negentropy for the whole city. After all, that is the purpose of the square. This is exactly the point that needs to be found in Giardini. The feeling of freedom and disburdening of designed space is inevitable. And we do not assign them sufficient importance as they should have.
PARK GIARDINI
Fig. 4: St. Mark’s Square 15
The Venetian Giardini represents great historical space of Venice, and during the Biennale it is the main cultural target of the city. 16 In1895, Napoleon marked it as an attractive location for artists’ exhibition, for only a few artists.Today the site is developed as the most popular Biennale of Architecture and Art. It is located next to the first officially built street in Venice- via Garibaldi. Traditionalism of the park is undeniable. It is complemented with national pavilions and a central pavilion, which are an integral part of the Venetian exhibition.
Fig. 5: Venice Giardini 16
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NEW CITY
Considering the amount of information, function and layout, Giardini can be examined as a city for itself. Historically, physiological limits of understanding the urban environment and urban proportion have not always been the same. Speaking of that, we can rely on Aristotle’s famous metaphor that the city should be large as much as the reach of the human voice is. The idea of such a conception, seems very tempting today, although it is not easy to accomplish it. The Greek notion of the city size was only meaningful if the city had possibility for direct and unobstructed communication between the environment and a man. In fact, the reach of the human voice is very deliberate measurement of the city size. Bogdanovic, Bogdan, “Tri ratne knjige”, (Three war books) Grad i budućnost,(City and future) Novi Sad 2008, page 118 17
“Simply because every real city,even a small city, is a cultural form, not technological or sociological stereotype, and therefore it can not be made by order, but it appears according to some complex, hidden and relatively free rules of the game to which modern urbanization, with mania of exact planning, can not penetrate yet. “ 17 If we recall the previous analysis of points of entropy and negentropy we can find out the facts that will help us in discovering the same points in the Giardini park.The process is relatively reduced and placed through the simplest proportion. Square as a point of negentropy for the city of Venice, should appear as a point of negentropy in Newcity Giardini. Venice : square
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Gardini : x
SQUARE AS A POINT OF NEGENTROPY
Square as a basis, proportionally sufficient to balance the functioning of energy information inflow. Square as a point of negetropy in Giardini. Square in the city. Its position in Giardini should be considered. If we look at the analysis presented in the diagram 1,we will notice the point of constant influx of energy and the point of highest entropy. We can notice that some pavilions are more popular and therefore each year its visit and overabundance increase. What is undeniable is that every visitor must pass through the bienniale main gate. This is the first step of receiving information in the Giardini. According to the given chart we can see that a constant circulation occurs in this area.Considering the influx of energy that is happening at the entrance, it is necessary to emphasize it and provide a dignified proportion for it. Then it can become the required square. However, the position of square, as well as the biennale gate, should be analized. Due to the current arrangement that has a certain ambiguity, and having in mind that pavilions are protected and can not be moved, the main role belongs to the square ,i.e the entrance. Changing the purpose and the position of entrance, the sistem of walking and direction through Giardini will change. Current trends of the average number of people are analized. Respondents are biennale visitors and students of the Faculty of Architecture. Their walking process is recorded and the results are very similar. After the entrance, the majority goes to the central pavilion, and after that they are coming back to visit the pavilion that they have already passed. The further course is easily explained by drawing the number eight. So, the direction is not defined, but it is personally characterized, and therefore in some places the chaos points are created. If we attribute to the square significantly greater and more dominant structure, and its end convert into the entrance to the central pavilion, we get a new kind of movement which is continuously defined.
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In this way, the square becomes a point of harmony with all architectural and urban elements.This is the place for balancing the flow of information. The entrance as his most important architectural element has a prominent role. Its urban connectivity with the central pavilion is preferred. In this way, it brings a change in the central pavilion’s structure. Switching the entrance will not only change the structure of walking through Giardini, but will also make a currently existing entrance space as a potential area for pavilions that are yet to be built by new interested states that do not have their place in the Biennale. It is a large area of the park that will get its re-appropriation and will not disrupt the functioning of the system, but will become part of a unified concept.
Diagram 1: Entropy in the city, entropy at the entrance of biennale. 18
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FIELD OF SILENCE zero point energy
Examining the previous entrance as the system that affects the whole process of biennale, we can talk about the energy that has an important role in the aforementioned entrance. A set of energy is questionable and quantitatively oriented. The magical image of the city can be seen in the drawing of the existing energy. Speaking about such a phenomenon in nature, we refer to the unified field theory of the zero point which Albert Einstein and Nikola Teslahave studied. Zero point energy is the energy in the maximum empty space. It is the source of everything and has no form. There are a lot of types of energy. Although they are present everywhere and constantly, only at certain points and under certain conditions, a sound-information energy collision occurs, and it creates field of silence. The concept of zero point energy comes from quantum mechanics and the uncertainty principle, which was set up in 1927 by a theoretical physicist Werner Heisenberg. He concluded that the universe is permeated by thoroughly energy.
According to Einstein, a unified field of energy is a source of creation and this place is called a field of silence.
Tesla, Nikola, Museum of Nikola Tesla, Belgrade, Serbia 19
“The mind is sharper and keener in seclusion and uninterrupted solitude. No big laboratory is needed in which to think. Originality thrives in seclusion free of outside influences beatingn upon us to cripple the creative mind. Be alone, that is the secret of invention; be alone, that is when ideas are born. “ 19
CHANGING THE PURPOSE OF ENTRANCE
Given the importance of energy and zero-point energy field, we can talk about their use in the park Giardini. Because of that collision of energy , the point of maximum overabundance in Giardini is entrance. The entrance affects the whole system of walking and direction through biennale. The entrance should be given the dominant role that square has. The energy collision at the entrance creates a zero point, a point of silence.Therefore the entrance has a double critical review on the overabundant summer biennale, and empty space during winter. Central pavilion should be part of the entrance, because it is actually the introductory information system that we will see at the biennale. Elaboration is the entire bienniale, and conclusion is the unification of all, that brings us back to the beginning with circular tour and with all the information gathered in Giardini.
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SQUARE OF SILENCE AS A POINT OF NEGENTROPY
Based on the previous analysis, this dissertation is focused on designing the square of silence as the point of negentropy with changing the location and function of biennale main entrance. 20 Square of silence will cover the part of the park that adjoins the street via Garibaldi (and Garibaldi monument).Square of silence is followed by the entrance to the central pavilion, which completely changes the direction of walking through Giardini.The area in front of the existing entrance gets redefined function for future pavilions.
Diagram 2: Concept: Square of silence as a point of negentropy 20
zbog cega i sta je to?
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SILENCE
In order to fully apply the moment of silence in the setting of the square, we need to get to know more thoroughly the very essence of silence, its effects and existence. Silence is the concept and process. It filters out the sound and visual appearance as well. Within audio context, boundaries of silence are defined by phenomenon of sound, while the visual context of silence is interrupted by objects and information related to them. The notion of emptiness and silence occur throughout the history and have a prominent role in science, religion and life. The emptiness in the Far East corresponds with silence of certain Christian individual rows (Carthusian), in whose protocol is enjoying life in silence as a mode of being closer to God (in addition to fasting, prayer and loneliness). In German mysticism, Eckhart (Meister Eckhart) emphasizes the importance of silence: “Nothing in all creation is so like God as stillness. “
Sontag, Susan, ”Aesthetics of silence” http://www. ubu.com/aspen/ aspen5and6/ threeEssays. html 21
We can identify an audio and visual silence.
“ Our time is loud, with tendencies toward silence. “ 21
VISUAL SILENCE - WHITE
In Kandinsky theory, each color has its own sound, and sound of white is just silence. “White color affects our psyche as big, for us, absolute silence. It is a silence, not dead,but rather full of possibilities.” White color is the absolute color, and like silence, it carries great symbolism through art and history. it is interpreted as essential aesthetics and poetics of silence. The concept of white can be found in the works of contemporary art, painting and cinematography.
Stanley Kubrick: The Complete Films. Los Angeles: Taschen, 2008, page 11. 22
In the movie 2001: A Space Odyssey (1968), the white color represents mysticism of silence. The interior of the spaceship is white, as well as the French room, highlighted at the veryend of the movie. By using white visually, silence becomes accentuated. The movie’s director, Stanley Kubrick, in his interview with “Time” magazine in 1975 stated: “The essence of dramatic form is to let an idea come over people without it being plainly stated. When you say something directly, it’s simply not as potent as it is when you allow people to discover it for themselves. “ 22 The white color makes absolute purity, infinity and pointlessness. The volume of white can be recognized in paintings: White on white (KazimirMaljevich) and the Mother of God (Robert Rauschenberg). Both images underscore symbolically the significance of the white color as quietness, calmness and infinity above the earthly and material.
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SOUND SILENCE - MATERIALS
that.
Use of materials can accentuate the silence. The absence of any content helps emphasizing
Technique of generating deaf isolated space, was developed for years. In Minneapolis, such space exists and is recognized as the most silent room in the world. The concept of such a space is absolutesound absorption. This was achieved by creating a double wall of steel and concrete and placing trapezoidal concrete blocks in a certain position that affects the disappearance of sound. Glass fiber acts as acousticplatform with its thickness of one meter. A similar room concept exists in the University of Oxford, but in itscase, heartbeat and blood circulation are audibly presented. A moment of sound silence was presented in Japanese gardens as well. One of the most famous Zen gardens, Soami, is completed in 1499, in the Ryoan-ji, the Temple of the Peaceful Dragon. On white gravel, five larger groups of rocks are arranged (3 + 2 + 3 + 2 + 5), around which are very small grass areas. Because of this simplicity, Soami is often called Garden of Voids and serves as a place for silence and meditation. Concept of silence and emptinessis generated by the absence of water and its sound and movement.Will Petersen notes that “empty garden space, as a silence, absorbs the mind and relives it from unnecessary details and serves as a visual tour guide - for a breakthrough domains of crowd. “
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INFORMATION FILTER
The way of designing the silence in the square at the entrance to the Venetian Giardini, can be viewed through the information filter. Regarding to the analysis of silence in an audio and visual context, the gradual information selection imposes as intervention. If the hierarchy of information is embodied through the elements of the square, approaching space should be designed as part stripped of information. Using white, and visually removing both the water canal, which is next to the square, and surrounding buildings, the effect of silence is achieved. Absorbing materials additionaly emphasize this moment. After visual silence in the approach of the square, emphasis is put on the main Biennale entrance.A large number of narrow and audibly isolated paths, brings disorganization at the entrance down to a minimum, while neutralizing information is brought to the maximum. By displacing the current entrance, to the area next to Central Pavilion, a field of possible negentropy is created. Therefore the library of the Central Pavilion receives conversion to the main entrance and opens a new system of movement through the Venetian Biennale. Perceiving information gradually, removes very prominent effect of entropy at the entrance. The square of silence, as a filter of information, affects the whole system of park Giardini and Venice Biennale.
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THE SILENCE OF THE MIND
Ilie Cioara - The Silence of the Mind https://www.youtube.com/watch?v=evd8RgktArQ
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ILLUSTRATIONS
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BIBLIOGRAPHY
Akile Bonito Oliva. Đulio Karlo Argan, “MODERNA UMETNOST 1770-1970-2000” Bogdanovic, Bogdan. ,,Pionirov glasnik, Nauka, Grad i budućnost/City and future.”, http://www.pionirovglasnik.com/, Belgrade, 9.august 2004, accessed March 7. 2016. Bogdanovic, Bogdan. “Tri ratne knjige/Three war books”, Grad i smrt/ City and death. Novi Sad, 2008. Gann, Kyle. No Such Thing as Silence: John Cage’s 4’ 33”. New Haven, Conn: Yale University Press, 2010. Ekhart, Maeister. http://mlquotes.com/authors/meistereckhart/best/ accessed May 21. 2016. Kalaba, Svetlana. “Fenomen tišine u savremenoj umetnosti / Silence phenomenon in contemporary art”, Belgrade 2015. Kandinski,Vasilij. O duhovnom u umetnosti. Belgrade: Esotheria, 1996. Maljevič, Kazimir Severinovič. Bog nije zbačen (sabrana dela). Belgrade: Plavi krug, Logos, 2010. Nakagawara, Camelia. ”The Japanese Garden for the Mind: The Bliss of Paradise Transcended” http:// web.stanford/edu/group/sjeaa/jornal42/japan2.pdf accessed April 3. 2016. Sontag, Susan, ”Aesthetics of silence” http://www.ubu.com/aspen/aspen5and6/threeEssays.html accessed May 21. 2016. Suzuki, Daisec T. Zen i japanska kultura/ Zen and japanese culture. Belgrade: Geopoetika, 2005. Forge, Andrew. Rauschenberg. New York: Harry N. Abrams, 1972. Cage, John, Silence, Hanover: Weslyan University Press, 1961. Šuvaković, Miško. Konceptualna umetnost/ Conceptual art. Novi Sad: Muzej savremene umetnosti/Museum of conteporary art, Vojvodina, 2007.
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FILMOGRAPHY
2001: A Space Odyssey, Director Stenly Kubrick, 1968. Die grosse Stille, Director Philip Gröning, 2005. The Curious Case of Benjamin Button, Director David Fincher,2008. Dr, Director Aleksandar Đorđević. 1984. The return / Vozvrashchenie, Director Andrey Zvyagintsev, 2003. The Banishment / Izgnanie, Director Andrey Zvyagintsev, 2007. Leviathan / Leviafan, Director Andrey Zvyagintsev, 2014.
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